Review
November 09, 2012, 9:22am
Liat Yossifor (NAP #79) On Huffington Post
There was a nice piece yesterday on Liat Yossifor by Huffington Post. Yossifor was in New American Paintings Pacific Coast Issue, #79. Below is the review of her exhibition at Ameringer McEnery Yohe:
Liat Yossifor's 'Thought Patterns' Trace The Image Of Thinking And A Moment Undone
November 07, 2012, 8:36am
Anonymous Source: Anna Fidler’s Topographic Celebrities
It is difficult to decide whether Anna Fidler’s (NAP #61) new show Cherry Bomb references the firecracker definition or the “smokin’ hot lady” definition of the term. The Portland artist’s meticulously constructed acrylic, pencil and cutout paper portraits on view at Seattle’s Prole Drift gallery literally portray women as their subject matter—nostalgic pop musicians including Heart, Joan Jett, and Karen Carpenter. Yet, a sinister tone resides within the figures’ construction, a highly textural technique that combines psychedelic blasts of color with dark, map-like details that abstract Fidler’s imagery beyond simple appropriation.
November 06, 2012, 7:41am
Jen Pack’s UnQuiet Chromo at Taylor De Cordoba
Jen Pack’s (NAP #73) UnQuiet Chromo at Taylor De Cordoba is something of an artistic oxymoron—in the best way possible. Her works are both loud and quiet. Soft and hard. Strong and delicate. Opaque and solid. Something about her stretched chiffon patchwork defies many of the qualities that the pieces also envelop and embody.
October 24, 2012, 8:25am
Into the Wild: Shara Hughes at American Contemporary
Shara Hughes (NAP #58) deserves our total, undivided attention when experiencing her works. There is little static or passive about the furiously colorful interiors and environments constituting See Me Seeing Me, her debut solo exhibition at American Contemporary. Are you ready to give your oculars a calisthenic workout? Dive in. — Brian Fee, Austin contributor
October 22, 2012, 8:25am
Abstract Dissection: Alex Olson at Lisa Cooley
Alex Olson dialogues with her paintings, building up layers of oil on linen, asserting with palette knives or opining with a window scraper. When she is satisfied with the exchange, she backs off, revealing an array like those comprising Palmist and Editor, her second solo exhibition at Lisa Cooley. Each is so imbued with the history of its creation that it's not quite accurate to call them “nonreferential”. Like the exhibition title alludes, we must read them. — Brian Fee, Austin contributor
October 17, 2012, 8:25am
Painting Upgraded: Analia Saban at Tanya Bonakdar Gallery
You'll never look at a painting and say: “OK, that's just a painting” after viewing Analia Saban's stunning New York solo debut at Tanya Bonakdar Gallery. This young Argentinian artist, who has been increasing her international exposure exponentially every year, collides artistic tropes with whimsy and serious wit in an envelope-pushing array of works that are all, essentially, paintings. — Brian Fee, Austin contributor
October 16, 2012, 8:25am
Anya Kielar's WOMEN at Rachel Uffner
If you've walked by Rachel Uffner this month, you've probably poked your head in. From the outside, Anya Kielar’s show of hanging screens (on view through October 21st) looks kind of like a staged birthday party, packed wall-to-wall with rows of colorfully-patterned traditional, folk, and tribal women. Inside, they give an ambience of passing through airy doors. - Whitney Kimball, NYC Contributor
October 15, 2012, 8:25am
A Celebration of City-Living: Wendy White at Leo Koenig Inc.
Wendy White's (NAP #22, #28) Fotobild series, the subject of her third solo exhibition at Leo Koenig Inc., enhances the medium-blurring cool developed since her 2008 debut at this gallery. Angled structures and gestural graffiti recur, paired with silkscreened awnings stretched over metal armatures. What emerges is a deeply contemplative grouping, tied intrinsically to the urban landscape. — Brian Fee, Austin contributor
October 09, 2012, 8:25am
Geoffrey Todd Smith at Western Exhibitions
Geoffrey Todd Smith recently opened his third solo show at Western Exhibitions entitled Looker. The show features an array of vibrant, uber-meticulous enamel/gouache/ink paintings on panel. The new group of paintings is a slight departure from his previous body of work of edge-to-edge pattern-fields, now employing a larger pattern within the micro-pattern; often these larger patterns resemble the irregular compositions of Gee’s Bend quilts. In some moments the paintings are strikingly vivid, with neons and vibrating colors that create a push and pull with the foreground and background; other times the paintings are entirely about clever nuances within the surface textures, glossiness, and composition.
October 08, 2012, 8:20am
Chromatic Archive: Lisa Ruyter at Connersmith
There’s a seemingly direct line between Lisa Ruyter’s work and pop art. Like pop art, Ruyter’s paintings are guided by photography and mass media, her appropriation strategies a central crux of her compositions. But her artistic concerns are decidedly unwarholian. Rather than revisiting pop art’s critique of commodity culture, Ruyter is more interested in reframing the conceptual meeting point between image and color, obliterating photographic affect and repurposing meaning along the way. Indeed, much of the photographs’ original “truth” is lost when viewed through Ruyter’s decadently neon prism, nearly as abstract as it is figurative.
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